ASTANA – Kazakhstan celebrates 190 years of Birzhan-sal Kozhagululy, a prominent poet and aitys artist, which refers to the Kazakh literary tradition of impromptu. He emerged as a leading voice against the prevailing patriarchal customs and violence perpetuated by local governors in the Kazakh steppe of the late 19th century.
Portrait of Birzhan-sal painted by Kazakh artist Abilkhan Kasteev.
Kozhagululy, commonly referred to as simply Birzhan-sal, was born in 1834 in the Enbekshi district of the Akmola Region. The suffix “sal” in his name signifies his status as a beloved entertainer of the people.
From an early age, Birzhan-sal was raised by his grandfather Kozhagul, who took him under his wing. Birzhan-sal faced no struggle growing up and declared himself “Birzhan of Kozhagul,” as he matured.
Renowned for his outstanding vocal range as a traditional singer with, he travelled from village to village gathering talented youth to his side. His participation in the aitys competions also displayed his gift for improvisation and a sharp mind.
Aitys is a Kazakh literary tradition centered on improvised oral poetry spoken or sung to the accompaniment of traditional musical instruments – the Kazakh dombra. Two performers, akyns, compete with one other to improvise verses on topical themes in a battle of wits that alternates between humorous ripostes and penetrating philosophical reflections. In 2015, aitys was inscribed in United Nations Educational, Scientific and Cultural Organization (UNESCO)’s Intangible Cultural Heritage list.
Birzhan-Sara aitys
Birzhan-sal became a leading figure in the Kazakh aitys scene by winning over Sara Tastanbekkyzy, a native of the Zhetisu Region, in 1871.
A scene from “Birzhan-Sara” opera at Astana Opera. Photo credit: astanaopera.kz
In aitys, the two akyns usually praise their own talent and noble ancestry, while highlighting the opponent’s shortcomings in looks, manners or wit.
“At seventeen, Sara’s words took flight;
No poet more agile, no voice more bright,” started Sara of herself in a renowned Birzhan-Sara aitys, highlighting her immense mastery of words at such a young age.
Following an exchange of witty and blunt remarks, Birzhan-sal teased Sara about her husband’s shortcomings in age, appearance and intellect. To prove his point, he demanded to bring out her husband, Zhienkul. Through his ruthless commentary, Birzhan-sal sought to challenge Sara’s pride in her clan and ancestry, who, in his view, married her off to an unworthy man.
But, beneath the satire lurks a serious social message. Birzhan-Sara aitys stands at the top as the clearest voice of progressive talents against backward traditions that sell women for a kalynmal, a bride price. He points out the group’s reluctance to protect young women.
“Don’t sell your precious thing for naught,
Respect your kin, whether a girl or not,” said Birzhan-sal.
He also vents his frustrations about outdated customs that are exploited for a family’s benefit, while highlighting Sara’s exceptional talent and intelligence.
“No bird in flight, nor human, could attain her verse,
Here, where problems arise, solutions disperse.
Zhienkul stands no equal to her grace,
The law forbids violence in any place.
A worthy woman, not for an ignorant to claim,
With [Quran] verses and hadiths defending her name,
Do not give out women despite tears of despair,” said Birzhan-sal.
The aitys between Birzhan and Sara was recorded by Zhusup Shaikhislamuly and first published in 1898 in Kazan, Russia.
In 1946, composer Mukan Tulebayev adapted this aitys into the “Birzhan and Sara” opera, which featured Birzhan-sal’s renowned songs. The author and a group of performers were awarded the second-degree Stalin Prize in 1949 in the opera art category.
Major themes in Birzhan-sal’s songs
The lyrical content of his songs has always had a love grain. The songs like “Aitbai,” “Gashygym” (My Love), “Gashyk zhar” (Lover), “Lailim-shyrak” (Lailim-light) are characterized by genuine sincerity and depth of feelings.
His musical reputation grew as he sang about his encounters with local governors, who often abused their power. As the voice of the Kazakh people, Birzhan-sal denounced the arbitrary actions of authorities, such as Zhanbota and Aznabai.
In his song “Zhanbota,” in which he addresses his township leader, Birzhan-sal takes shots at the government, which lacks powers to protect its people.
“The postman of Aznabai, just like you,
Snatched my dombra from my hands, it’s true.
Yet I held tight, refused to yield,
The postman is not a man, as revealed.
He beat me with a whip amidst the crowd,
But here I stand, alive and proud.”
The song recounts Aznabai’s attempt to have Birzhan-sal’s dombra broken for disobedience before the governor-general’s visit from Omsk to the Kazakh steppe in 1865. After refusing to give up his dombra, Birzhan-sal was whipped. Zhanbota, the leader of Birzhan’s township, remained silent during the ordeal and failed to protect his honor.
His rapid-fire delivery of anti-feudal lyrics drew the attention of authorities and heads of Kazakh clans. Despite facing considerable opposition and even persecution, Birzhan-sal remained determined to speak up for himself and his people.
Throughout his life Birzhan-sal has dealt with many blows from the authorities. He died in 1897 at the age of 63. Around 60 songs of Birzhan-sal have survived to this day.
All poems in the text are the author’s loose translation rhymed with the help of AI.
